We specialize in hard to find items
All Categories
Novels, Tales, Journeys: The Complete Prose of Alexander Pushkin (Vintage Classics)
Share Tweet
*Price and Stocks may change without prior notice
*Packaging of actual item may differ from photo shown
- Electrical items MAY be 110 volts.
- 7 Day Return Policy
- All products are genuine and original
About Novels, Tales, Journeys: The Complete Prose Of
Product Description Universally acknowledged as Russia’s greatest poet, Pushkin wrote with the rich, prolific creative powers of a Mozart or a Shakespeare. His prose spans a remarkable range, from satires to epistolary tales, from light comedies to romantic adventures in the manner of Sir Walter Scott, from travel narratives to historical fiction. The haunting dream world of “The Queen of Spades” draws on his own experiences with high-stakes society gambling. The five short stories of The Tales of the Late Ivan Petrovich Belkin are deceptively light as they reveal astonishing human depths, and his short novel, The Captain’s Daughter, a love story set during the Cossack rebellion against Catherine the Great, has been called the most perfect book in Russian literature. By turns daringly dramatic and sparklingly comic, written in the exquisite cadences of a master, Novels, Tales, Journeys captures the essence of nineteenth-century Russia—and gives us, in one comprehensive volume, the work with which Pushkin laid the foundations of his country’s great prose tradition. Review “A wonderful book. . . . [The] most iconic of Russian writers.” — The Washington Post “Brilliant. . . . [Pushkin] took up narrative prose on a whim, but, as this collection makes clear, he mastered it gloriously.” — Los Angeles Review of Books “Displays the author's immersion in Russian life even more directly than the poetry that has come to define his legacy.” — The New Criterion About the Author Alexander Pushkin (1799–1837) was a poet, playwright, and novelist who achieved literary prominence before he was twenty. His radical politics led to government censorship and periods of banishment from the capital, but he eventually married a popular society beauty and became a regular part of court life. Notoriously touchy about his honor, he died at age thirty-seven in a duel with his wife’s alleged lover. Together, Richard Pevear and Larissa Volokhonsky have translated works by Tolstoy, Dostoevsky, Chekhov, Gogol, Bulgakov, Leskov, and Pasternak. They were twice awarded the PEN/Book-of-the-Month Club Translation Prize (for Dostoevsky’s The Brothers Karamazov and Tolstoy’s Anna Karenina). They are married and live in France. Excerpt. © Reprinted by permission. All rights reserved. Introduction Alexander Pushkin was mortally wounded in a duel on the afternoon of January 27, 1837, at Chernaya Rechka, just outside Petersburg. “It is thus that the figure of Pushkin remains in our memory—with a pistol,” Andrei Sinyavsky wrote in Strolls with Pushkin.* “Little Pushkin with a big pistol. A civilian, but louder than a soldier. A general. An ace. Pushkin! Crude, but just. The first poet with his own biography—how else would you have him up and die, this first poet, who inscribed himself with blood and powder in the history of art?” Pushkin was just thirty-seven when he died, but he had already been acknowledged as Russia’s greatest poet, a title that has since been defined and redefined but never disputed. In the decade before his death, however, he had also become the true originator of Russian prose. Sinyavsky is right to say that Pushkin lives in Russian memory as more than a writer, more than a poet—as “Pushkin!” In a speech delivered at a commemoration in revolutionary Petrograd in February 1921, the poet Alexander Blok said: “From early childhood our memory keeps the cheerful name: Pushkin. This name, this sound fills many days of our life. The grim names of emperors, generals, inventors of the tools of murder, the tormented and the tormentors of life. And beside them—this light name: Pushkin.” Yet his personal presence is in marked contrast with the essential impersonality of Pushkin’s art. It is not that he celebrated himself and sang himself: he never did. In a letter to his friend Nikolai Raevsky, written in July 1825, Pushkin criticized Byron (whom he generally admired) for the constant intrusion of his personality: “Byron . . . has
